LITMIR.BIZ

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well-known character of an angry baby (as for instance when he remarked of the Bishop who did not do something he wanted, that "God alone is great enough for him [Walter Savage Landor] to ask anything of twice") he becomes merely – or perhaps to very amiable folk rather painfully – ridiculous. De Quincey and Hazlitt diverted a good deal of what might have been utilised as mere letter-writing faculty into their very miscellaneous work for publication. Moore could write very good letters himself: but is perhaps most noted and notable in connection with the subject as being one of the earliest and best "Life-and-Letters" craftsmen in regard to Byron.

      But none of these restrictions or provisos is requisite, or could for a moment be thought of, in reference to Charles Lamb. Of him, as of hardly any other writer of great excellence (perhaps Thackeray is most like him in this way) it can be said that if we had nothing but his letters we should almost be able to detect the qualities which he shows in his regular works. Some of the Essays of Elia and his other miscellanies are or pretend to be actual letters. Certainly not a few of his letters would seem not at all strange and by no means unable to hold up their heads, if they had appeared as Essays of that singularly fortunate Italian who had his name taken, not in vain but in order to be titular author of some of the choicest things in literature.

      Indeed that unique combination of bookishness and native fancy which makes the "Eliesque" quality is obviously as well suited to the letter as to the essay, and would require but a stroke or two of the pen, in addition or deletion, to produce examples of either. One often feels as if it must have been, as the saying goes, a toss-up whether the London Magazine or some personal friend got a particular composition; whether it was issued to the public direct or waited for Serjeant Talfourd to collect and edit it. The two English writers whom, on very different sides of course, Lamb most resembles, and whom he may be said to have copied (of course as genius copies) most, are Sterne and Sir Thomas Browne. But between the actual letters and the actual works of these two, themselves, there is a great difference, while (as has just been noted) in Lamb's case there is none. The reason of course is that though Sir Thomas is one of our very greatest authors and the Reverend Yorick not by any means unplaced in the running for greatness, both are in the highest degree artificial: while Lamb's way of writing, complex as it is, necessitating as it must have done not a little reading and (as would seem almost necessary) not a little practice, seems to run as naturally as a child's babble. The very tricks – mechanical dots, dashes, aposiopeses – which offend us now and then in Sterne; the unfamiliar Latinisms which frighten some and disgust others in Browne, drop from Lamb's lips or pen like the pearls of the Fairy story. Unless you are born out of sympathy with Elia, you never think about them as tricks at all. Now this naturalness – it can hardly be said too often here – is the one thing needful in letters. The different forms of it may be as various and as far apart from each other as those of the other Nature in flora or fauna, on mountain and sea, in field and town. But if it is there, all is right.

BYRON

      There are few more interesting groups in the population of our subject than that formed by the three poets whom we mentioned last when classifying the epistolers of the early nineteenth century. There is hardly one of them who has not been ranked by some far from contemptible judgments among our greatest as poets; and merely as letter-writers they have been put correspondingly high by others or the same. It is rather curious that the most contested as to his place as a poet has been, as a rule, allowed it most easily as a letter-writer. The enormous vogue which Byron's verse at once attained both at home and abroad – has at home if not abroad (where reputations of poets often depend upon extra-poetical causes) long ceased to be undisputed: indeed has chiefly been sustained by spasmodic and not too successful exertions of individuals. It was never, of course, paralleled in regard to his letters. But these letters early obtained high repute and have never, in the general estimate, lost it. Some good judges even among those who do not care very much for the poems, have gone so far as to put him among our very best epistolers; and few have put him very much lower. Acceptance of the former estimate certainly – perhaps even of the latter – depends however upon the extent to which people can also accept recognition in Byron of the qualities of "Sincerity and Strength." That he was always a great though often a careless craftsman, and sometimes a great artist in literature, nobody possessed of the slightest critical ability can deny or doubt. But there are some who shake their heads over the attribution of anything like "sincerity" to him, except very occasionally: and who if they had to translate his "strength" into Greek would select the word Bia ("violence") and not the word Kratos (simple "strength") from the dramatis personae of the Prometheus Vinctus. Now "sincerity" of a kind – even of that kind which we found in Walpole and did not find in Pope – has been contended for here as a necessity in the best, if not in all good, letters; and "violence" is almost fatal to them. Of a certain kind of letter Byron was no doubt a skilful practitioner.26 But to some it will or may always seem that the vital principle of his correspondence is to that of the real "Best" as stage life to life off the stage. These two can sometimes approach each other marvellously: but they are never the same thing.

SHELLEY

      When Mr. Matthew Arnold expressed the opinion that Shelley's letters were more valuable than his poetry it was, of course, as Lamb said of Coleridge "only his fun." In the words of another classic, he "did it to annoy, because he knew it teased" some people. The absurdity is perhaps best antagonised by the perfectly true remark that it only shows that Mr. Arnold understood the letters and did not understand the poetry. But it was a little unfortunate, not for the poetry but for the letters, against which it might create a prejudice. They are so good that they ought not to have been made victims of what in another person the same judge would have called, and rightly, a saugrenu27 judgment. Like all good letters – perhaps all without exception according to Demetrius and Newman – they carry with them much of their author's idiosyncrasy, but in a fashion which should help to correct certain misjudgments of that idiosyncrasy itself. Shelley is "unearthly," but it is an entire mistake to suppose that his unearthliness can never become earthly to such an extent as is required. The beginning of The Recollection ("We wandered to the pine forest") is as vivid a picture of actual scenery as ever appeared on the walls of any Academy: and The Witch of Atlas itself, not to mention the portrait-frescoes in Adonais, is quite a waking dream. The quality of liveness is naturally still more prominent in the letters, because poetical transcendence of fact is not there required to accompany it. But it does accompany now and then; and the result is a blend or brand of letter-writing almost as unlike anything else as the writer's poetry, and in its own (doubtless lower) kind hardly less perfect. To prefer the letters to the poems is merely foolish, and to say that they are as good as the poems is perhaps excessive. But they comment and complete the Shelley of the Poems themselves in a manner for which we cannot be too thankful.

KEATS

      The letters of Keats did not attract much notice till long after those of Byron, and no short time after those of Shelley, had secured it. This was by no means wholly, though it may have been to some extent indirectly, due to the partly stupid and partly malevolent attempts to smother his poetical reputation in its cradle. The letters were inaccessible till the late Lord Houghton practically resuscitated Keats; and till other persons – rather in the "Codlin not Short" manner – rushed in to correct and supplement Mr. Milnes as he then was. And it was even much later still before two very different editors, Sir Sidney Colvin and the late Mr. Buxton Forman, completed, or nearly so, the publication. Something must be said and may be touched on later in connection with a very important division of our subject in general, as to the publication by the last-named, of the letters to Fanny Brawne: but nothing in detail need be written, and it is almost needless to say that none of these letters will appear here. No one but a brute who is also something of a fool will think any the worse of Keats for writing them. A thought of sunt lacrimae rerum is all the price that need be paid by any one who chooses to read them, nor is it our business to characterise at length the taste and wits of the person who could publish them.28

      But putting this question aside, it is unquestionable that for some years past there has been a tendency to value the Letters as a whole very highly. Not only has unusual critical power been claimed for Keats on the strength of them, but general epistolary merit; and though

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